Currently viewing the tag: "lia cirio"

“Marc Jacobs International is known for its commitment to charity in the communities in which it operates…” From an interview I did last Spring with Marc Jacobs International President & Cofounder Robert Duffy. Yeah, I just quoted myself. Isn’t that cool? NAWT…

What is cool, however, is that Marc Jacobs has started a special promotion to support one of Boston’s greatest cultural institutions, the Boston Ballet. In all seriousness, two programs from last year’s season at the Boston Ballet had me in tears, and, as you’ve probably surmised from reading my misanthropic tomes, I don’t much fancy crying. The dancers and the repertoire are really just that good. James Whiteside + Lia Cirio = OTHERWORDLY AND BREATHTAKING AND OMGWHATAMIWATCHINGTHISCAN’TBEREAL AND WAAAATAMICRYINGDAMNYOUDAMNYOUDAMNYOU. And of course we all already know that Marc is dope.

Want to do your part? Marc Jacobs is making it easy-peasy for you. Through December 31st, all you have to do is:

1) Go see the Boston Ballet’s Nutcracker because a) it’s incredible and b) this is the last year the ballet will perform the now decade-running production. It will be revamped next year.
2) Keep your ticket stubs.
3) Take said ticket stubs to Marc Jacobs at 81 Newbury Street, Boston, MA.
4) Be super proud of yourself because…

Marc Jacobs is donating a crisp dollar bill to the Boston Ballet for every ticket stub submitted. Basically, you enrich yourself by seeing the Ballet (Hi, you’re a cultural noob, get on it) and then, without doing anything except exercising your way to MJ, you support the Ballet alongside, you know, Marc Jacobs and his crew of übercool, acid-washed-denim-wearing, tattoo-having, always-smiling-because-they’re-cooler-than-you-but-still-somehow-unnervingly-nice cats. (I realize saying übercool cats = me not being cool at all. TOTALLY AWARE KTHX.)

If that weren’t enough, a submitted ticket stub means you’ll also be entered into a raffle that could result in you being $350 of Marc Jacobs richer. Which is like $1278931287312381237123 richer in regular dollars. OBVIOUSLY.

You read that right. So…. go do it. And STAT.

Full disclosure: the Boston Ballet’s Bella Figura had me spellbound long before I passed through the doors of the Opera House. The Italian idiom, the stunning promotional images, the roster of some of ballet’s most arresting–and provocative–choreographers. I could hardly claim objectivity. Instead, I attended anticipating a contemporary work of the earth-shattering variety, a giddy, hyper-stimulated fanboy.

Bella Figura was just that, and then some. Throughout the program of shorter works, the Boston Ballet’s dancers demonstrated the requisite command of craft and versatility–shifting effortlessly from near-rigid, stilted sequences to broad swaths of supple movement–that makes this company one of the most respected in the country.  But where they exceeded expectation was the conviction, the electric emotional energy, with which these dancers took to the stage, and to the works, diverse as they were.

The image above is an excellent example: the pair having each just shed their clothes (and with it their proverbial skins), this dénouement of sorts was frenetic but achingly vulnerable, an ephemeral moment as beautifully felt as it was beautifully danced. The only word for its lingering effect is haunting.

Extraordinary as that moment was, the honor of the ‘highlight’ is owed to the touching pas de deux, Tsukiyo, in the second act of the program. Set in a haze of lazy clouds, it was the clear crowd favorite. In no small way due to the sheer commitment of Lia Cirio’s dancing…

Cirio is one of the most engaging dancers I have ever witnessed.  The depth she imbues in her movements is the variety of emotional resonance that goes beyond beauty of form, or, even, bella figura.  She has both a fury and a fragility in her frame, and the stage never feels more alive than when she is on it.

I, you, the entire city of Boston, would do well to witness it more often.

You can purchase your tickets here: Bella Figura

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